It is in the first three plays of Mr. Mayne that we meet these people I have named, County Down folk all of them, and all Protestant but Francey Moore. They are the leading characters in "The Turn of the Road" (1906), "The Drone" (1908), and "The Troth" (1908). The motive of Mr. Mayne's first play is the old call to wander, the unrest of the vagrant heart, here the heart of the musician. It is the story of Robbie John Granahan, who, after burning his fiddle at the desire of a strong farmer whose daughter he wished to marry, is driven out into the world to try his fortune with another through her determination that her lover should follow his star. There is more beauty in "The Turn of the Road" than in either of the other plays of the North of Ireland, more beauty of theme, more beauty of thought, more beauty of expression. Its themes are not new, Wanderlust and the Puritans' hatred of art; its thoughts are not new, but they are beautiful, and the words themselves are freshly used. Its phrases that hold in memory are given to Robbie John and to his father and to his grandfather, most of them to the grandfather. This is the grandfather's lament for the boy gone on the roads with his fiddle and his father's curse:—
It's the wee things you think nothing of, but that make your home a joy to come back till, after a hard day's work. And you've sent out into the could and wet the one that was making your home something more than the common. D'ye think them proud city folk will listen to his poor ould ballads with the heart of the boy singing through them? It's only us—it's only us. I say, as knows the long wild nights, and the wet and the rain and the mist of nights on the boglands—it's only us, I say,
